* Rhythmic music::
* Piano music::
* Vocal music::
+* Other instrument specific notation::
* Tablatures::
-* Chord names::
+* Popular music::
* Orchestral music::
+* Formatting cue notes::
* Ancient notation::
* Contemporary notation::
* Educational use::
* Partial measures::
* Unmetered music::
* Bar lines::
+* Time administration::
+* Controlling formatting of prefatory matter::
@end menu
@node Staff symbol
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
@code{centralCPosition} and @code{clefOctavation}. A clef is printed
-when any of these properties are changed.
+when any of these properties are changed. The following example shows
+possibilities when setting properties manually.
+
+@lilypond[verbatim]
+{
+ \set Staff.clefGlyph = #"clefs-F"
+ \set Staff.clefPosition = #2
+ c'4
+ \set Staff.clefGlyph = #"clefs-G"
+ c'4
+ \set Staff.clefGlyph = #"clefs-C"
+ c'4
+ \set Staff.clefOctavation = #7
+ c'4
+ \set Staff.clefOctavation = #0
+ \set Staff.clefPosition = #0
+ c'4
+ \clef "bass"
+ c'4
+}
+@end lilypond
+
@seealso
-Program reference: the object for this symbol is @internalsref{Clef}.
+Program reference: @internalsref{Clef}.
@code{set-octavation} will get confused when clef changes happen
during an octavation bracket.
+
+
+
@node Time signature
@subsection Time signature
@cindex Time signature
The symbol that is printed can be customized with the @code{style}
property. Setting it to @code{#'()} uses fraction style for 4/4 and
-2/2 time. There are many more options for its layout. See
-@inputfileref{input/test,time.ly} for more examples.
+2/2 time,
+
+@lilypond[fragment,verbatim]
+\time 4/4 c'1
+\time 2/2 c'1
+\override TimeSignature #'style = #'()
+\time 4/4 c'1
+\time 2/2 c'1
+@end lilypond
+
+
+
+There are many more options for its layout. See @ref{Ancient time
+signatures} for more examples.
This command sets the property @code{timeSignatureFraction},
@noindent
indicate where line breaks can occur.
-
@refcommands
@cindex @code{\cadenzaOn}
@cindex @code{\cadenzaOff}
@code{\cadenzaOff}.
+
+
+
@node Bar lines
@subsection Bar lines
@cindex Bar lines
Examples: @inputfileref{input/test,bar-lines.ly},
+
+@node Time administration
+@subsection Time administration
+
+Time is administered by the @internalsref{Time_signature_engraver},
+which usually lives in the @internalsref{Score} context.
+The bookkeeping deals with the following variables
+
+@table @code
+@item currentBarNumber
+ the measure number
+@item measureLength
+ the length of the measures in the current time signature. For a 4/4
+ time this is 1, and for 6/8 it is 3/4.
+@item measurePosition
+ the point within the measure where we currently are. This quantity
+ is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
+ @code{currentBarNumber} is incremented.
+@item timing
+ if set to true, the above variables are updated for every time
+ step. When set to false, the engraver stays in the current measure
+ indefinitely.
+@end table
+
+Timing can be changed by setting any of these variables explicitly.
+In the next example, the 4/4 time signature is printed, but
+@code{measureLength} is set to 5/4. After a while, the measure is
+shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
+the measure, so the next bar line will fall at 2/4 + 3/8.
+
+@lilypond[verbatim]
+{
+ \set Score.measureLength = #(ly:make-moment 5 4)
+ c1 c4
+ c1 c4
+ c4 c4
+ \set Score.measurePosition = #(ly:make-moment -3 8)
+ b8 b b
+ c4 c1
+}
+@end lilypond
+
+
+@node Controlling formatting of prefatory matter
+@subsection Controlling formatting of prefatory matter
+
+TODO
+
+@lilypond[verbatim]
+\transpose c c' {
+ \override Staff.Clef #'break-visibility = #end-of-line-visible
+ \override Staff.KeySignature #'break-visibility = #end-of-line-visible
+ \set Staff.explicitClefVisibility = #end-of-line-visible
+ \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
+
+ % We want the time sig to take space, otherwise there is not
+ % enough white at the start of the line.
+ %
+
+ \override Staff.TimeSignature #'transparent = ##t
+ \set Score.defaultBarType = #"empty"
+
+ c1 d e f g a b c
+ \key d \major
+ \break
+
+ % see above.
+ \time 4/4
+
+ d e fis g a b cis d
+ \key g \major
+ \break
+ \time 4/4
+}
+@end lilypond
+
+
@node Polyphony
@section Polyphony
@cindex polyphony
* Text spanners::
* Analysis brackets::
* Articulations::
+* Running trills::
* Fingering instructions::
* Text scripts::
* Grace notes::
@lilypondfile[quote,raggedright]{script-chart.ly}
+
+The vertical ordering of scripts is controlled with the
+@code{script-priority} property. The lower this number, the closer it
+will be put to the note. In this example, the
+@internalsref{TextScript} (the sharp symbol) first has the lowest
+priority, so it is put lowest in the first example. In the second, the
+prall trill (the @internalsref{Script}) has the lowest, so it on the
+inside. When two objects have the same priority, the order in which
+they are entered decides which one comes first.
+
+
+@lilypond[verbatim]
+\relative g''{
+ \once \override TextScript #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
+
+ \once \override Script #'script-priority = #-100
+ a4^\prall^\markup { \sharp }
+}
+@end lilypond
+
+
+
@refcommands
@cindex @code{\scriptUp}
effect on the MIDI rendering of the music.
+
+@node Running trills
+@subsection Running trills
+
+Long running trills are made with @code{\startTrillSpan} and
+@code{\stopTrillSpan},
+
+
+@lilypond[verbatim]
+\relative \new Voice {
+ << { c1 \startTrillSpan }
+ { s2. \grace { d16[\stopTrillSpan e] } } >>
+ c4 }
+@end lilypond
+
+@refcommands
+
+@code{\startTrillSpan},
+@cindex @code{\startTrillSpan}
+@code{\stopTrillSpan}.
+@cindex @code{\stopTrillSpan}
+
+@seealso
+
+Program reference: @internalsref{TrillSpanner},
+@internalsref{TrillSpanEvent}.
+
@node Fingering instructions
@subsection Fingering instructions
property @inputfileref{input/regression,volta-multi-staff.ly},
@inputfileref{input/regression,volta-chord-names.ly}
+It is possible to shorten volta brackets
+by setting @code{voltaSpannerDuration}. In the next example, the
+bracket only lasts one measure, which is a duration of 3/4.
+
+
+
+@lilypond[verbatim,raggedright]
+\relative c''{
+ \time 3/4
+ c c c
+ \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
+ \repeat "volta" 5 { d d d }
+ \alternative { { e e e f f f }
+ { g g g } }
+}
+@end lilypond
+
@refbugs
A nested repeat like
@cindex expanding repeats
-For instructions on how to expand repeats for MIDI output, see the
-example file @inputfileref{input/test,unfold-all-repeats.ly}.
+An advantage of the unified syntax for repeats, is that all repeats
+may be played out for the MIDI output. This is achieved by
+applying the @code{\unfoldrepeats} music function.
+
+@lilypond[verbatim,raggedright]
+\new Staff
+ \unfoldrepeats {
+ \repeat tremolo 8 {c'32 e' }
+ \repeat percent 2 { c''8 d'' }
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative {
+ { g' a' a' g' }
+ {f' e' d' c' }
+ }
+ \bar "|."
+ }
+@end lilypond
+When creating a score file using @code{\unfoldrepeats} for midi, then
+it is necessary to make two @code{\score} blocks. One for MIDI, with
+unfolded repeats, and one for notation, eg.
+@example
+ \score @{
+ @var{..music..}
+ \paper @{ .. @}
+ @}
+ \score @{
+ \unfoldrepeats @var{..music..}
+ \midi @{ .. @}
+ @}
+@end example
@node Manual repeat commands
@subsection Manual repeat commands
@end lilypond
+
@seealso
Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
* Pedals::
* Arpeggio::
* Staff switch lines::
+* Cross staff stems::
@end menu
@refbugs
-There is no support for putting chords across staves. You can get
-this result by increasing the length of the stem in the lower stave so
-it reaches the stem in the upper stave, or vice versa. An example is
-included with the distribution as
-@inputfileref{input/test,stem-cross-staff.ly}.
-
Dynamics are not centered, but kludges do exist. See
@inputfileref{input/template,piano-dynamics.ly}.
@code{\hideStaffSwitch}.
+@node Cross staff stems
+@subsection Cross staff stems
+
+The chords which cross staves may be produced by increasing the length
+of the stem in the lower stave, so it reaches the stem in the upper
+stave, or vice versa.
+
+@lilypond[raggedright,verbatim]
+stemExtend = \once \override Stem #'length = #22
+noFlag = \once \override Stem #'flag-style = #'no-flag
+\context PianoStaff <<
+ \new Staff {
+ \stemDown \stemExtend
+ f'4
+ \stemExtend \noFlag
+ f'8
+ }
+ \new Staff {
+ \clef bass
+ a4 a8
+ }
+>>
+@end lilypond
+
+
@node Vocal music
@section Vocal music
@menu
* Entering lyrics::
* The Lyrics context::
+* Flexibility in alignment::
* More stanzas::
* Ambitus::
@end menu
} >>
@end lilypond
-
-
-
-When multiple stanzas are put on the same melody, it can happen that
-two stanzas have melismata in different locations. This can be
-remedied by switching off melismata for one
-@internalsref{Lyrics}. This is achieved by setting
-the @code{ignoreMelismata} property to @code{#t}. An example is shown
-in @inputfileref{input/regression,lyric-combine-new.ly}.
-
@cindex SATB
@cindex choral score
For proper processing of extender lines, the
-@internalsref{Lyrics} and @internalsref{Voice} should be
+ @internalsref{Lyrics} and @internalsref{Voice} should be
linked. This can be achieved either by using @code{\lyricsto} or by
setting corresponding names for both contexts. The latter is explained
in @ref{More stanzas}.
@c TODO: document \new Staff << Voice \lyricsto >> bug
-@node More stanzas
-@subsection More stanzas
+@node Flexibility in alignment
+@subsection Flexibility in alignment
-@cindex phrasing, in lyrics
+Often, different stanzas of one song are put to one melody in slightly
+differing ways. Such variations can still be captured with
+@code{\lyricsto}.
-The lyrics should be aligned with the note heads of the melody. To
-achieve this, each line of lyrics should be marked to correspond with
-the melodic line. This is done automatically when @code{\lyricsto},
-but it can also be done manually.
+One possibility is that the text has a melisma in one stanza, but
+multiple syllables in another one. One solution is to make the faster
+voice ignore the melisma. This is done by setting
+@code{ignoreMelismata} in the Lyrics context.
-To this end, give the @internalsref{Voice} context an identity
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
+There has one tricky aspect. The setting for @code{ignoreMelismata}
+must be set one syllable @emph{before} the non-melismatic syllable
+in the text, as shown here,
+
+@lilypond[verbatim,raggedright]
+<<
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ \slurDotted
+ f8.[( g16])
+ a4
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ more slow -- ly
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ \set ignoreMelismata = ##t % applies to "fas"
+ go fas -- ter
+ \unset ignoreMelismata
+ still
+ }
+>>
+@end lilypond
+
+
+The @code{ignoreMelismata} applies to the syllable ``fas'', so it
+should bev entered before ``go''.
-Then set the @internalsref{Lyrics} contexts to names starting with
-that identity followed by a dash. In the preceding example, the
-@internalsref{Voice} identity is @code{duet}, so the identities of the
-@internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}
+The reverse is also possible: making a lyric line slower than the
+standard. This can be achieved by insert @code{\skip}s into the
+lyrics. For every @code{\skip}, the text will be delayed another note.
+For example,
+
+@lilypond[verbatim,raggedright]
+\relative { c c g' }
+\newlyrics {
+ twin -- \skip 4
+ kle
+}
+@end lilypond
+
+More complex variations in text underlay are possible. It is possible
+to switch the melody for a line of lyrics during the text. This is
+done by setting the @code{associatedVoice} property. In the example
+
+@lilypond[raggedright]
+<<
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ <<
+ \context Voice = alternative {
+ \voiceOne
+ \times 2/3 {
+
+ % show associations clearly.
+ \override NoteColumn #'force-hshift = #-3
+ f8 f g
+ }
+ }
+ {
+ \voiceTwo
+ f8.[ g16]
+ \oneVoice
+ } >>
+ a8( b) c
+
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+ \new Lyrics \lyricsto "lahlah" {
+
+ % Tricky: need to set associatedVoice
+ % one syllable too soon!
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+ } >>
+@end lilypond
+
+@noindent
+the text for the first stanza is set to a melody called ``lahlah'',
+
+@verbatim
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+@end verbatim
+
+
+The second stanza initially is set to the @code{lahlah} context, but
+for the syllable ``ran'', it switches to a different melody.
+This is achieved with
@example
- \context Lyrics = "duet-1" @{
- Hi, my name is Bert. @}
- \context Lyrics = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
+ \set associatedVoice = alternative
@end example
-@c \lyricsto in the example below is pointless, given subject of the
-@c section.
+@noindent
+Here, @code{alternative} is the name of the @code{Voice} context
+containing the triplet.
+Again, the command must be one syllable too early, before ``Ty'' in
+this case.
+
+@verbatim
+ \new Lyrics \lyricsto "lahlah" {
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \set associatedVoice = lahlah % applies to "rus"
+ sau -- rus Rex
+ }
+@end verbatim
+
+@noindent
+The underlay is switched back to the starting situation by assigning
+@code{lahlah} to @code{associatedVoice}.
+
+
+
+
+@node More stanzas
+@subsection More stanzas
+
+@cindex phrasing, in lyrics
-The complete example is shown here
-@lilypond[quote,raggedright,verbatim]
- <<
- \relative c'' \context Voice = duet {
- \time 3/4
- g2 e4 a2 f4 g2. }
- <<
- \lyricsto "duet" \new Lyrics {
- \set vocalName = "Bert"
- Hi, my name is Bert. }
- \lyricsto "duet" \new Lyrics {
- \set vocalName = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >>
- >>
-@end lilypond
@cindex stanza number
@cindex singer's names
Stanza numbers can be added by setting @code{stanza}, e.g.
@lilypond[quote,verbatim,relative=2]
-<<
- \context Voice = duet {
- \time 3/4 g2 e4 a2 f4 g2. }
- \lyricsto "duet" \new Lyrics {
+\context Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \newlyrics {
\set stanza = "1. "
- Hi, my name is Bert. }
->>
+ Hi, my name is Bert.
+} \newlyrics {
+ \set stanza = "2. "
+ Oh, che -- ri, je t'aime
+}
@end lilypond
-This example also demonstrates how names of the singers can be added
-using @code{vocalName} analogous to instrument annotations for staves.
-A short version may be entered as @code{vocNam}.
+These numbers are put just before the start of first syllable.
-To make empty spaces in lyrics, use @code{\skip}.
+Names of singers can also be added. They are printed at the start of
+the line, just like instrument names. They are created by setting
+@code{vocalName}. A short version may be entered as @code{vocNam}.
+@lilypond[quote,verbatim,relative=2]
+\context Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \newlyrics {
+ \set vocalName = "Bert "
+ Hi, my name is Bert.
+} \newlyrics {
+ \set vocalName = "Ernie "
+ Oh, che -- ri, je t'aime
+}
+@end lilypond
+
@seealso
Program reference: Layout objects @internalsref{LyricText} and
There is no collision handling in the case of multiple per-voice
ambitus.
+@node Other instrument specific notation
+@section Other instrument specific notation
+
+@menu
+* Harmonic notes::
+@end menu
+
+@node Harmonic notes
+@subsection Harmonic notes
+
+@cindex artificial harmonics
+@cindex harmonics
+
+Artificial harmonics are notated with a different notehead style. They
+are entered by
+marking the harmonic pitch with @code{\harmonic}.
+
+@lilypond[raggedright,verbatim]
+{
+ <c' g'\harmonic>4
+}
+@end lilypond
+
+
@node Tablatures
@section Tablatures
Program reference: @internalsref{Tab_note_heads_engraver}.
+@node Popular music
+@section Popular music
+
+
+
+@menu
+* Chord names::
+* Chords mode::
+* Printing chord names::
+* Improvisation::
+@end menu
+
@node Chord names
-@section Chord names
+@subsection Chord names
@cindex Chords
LilyPond has support for both printing chord names. Chords may be
>>
@end lilypond
+The previous examples all show chords over a staff. This is not
+necessary. Chords may also be printed separately. It may be necessary
+to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
+for showing repeats.
+
+@lilypond[raggedright,verbatim]
+\new ChordNames \with {
+ \override BarLine #'bar-size = #4
+ \consists Bar_engraver
+ \consists "Volta_engraver"
+}
+\repeat volta 2 \chords {
+ f1:maj f:7 bes:7
+ c:maj es
+}
+@end lilypond
+
+
The default chord name layout is a system for Jazz music, proposed by
Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
following properties
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords} set these variables.
-
-
@cindex @code{chordNoteNamer}
@item chordNoteNamer
The default is to print single pitch, e.g. the bass note, using the
@end table
+The predefined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables. The effect is
+demonstrated here,
+
+@lilypondfile[notexidoc]{chord-names-german.ly}
There are also two other chord name schemes implemented: an alternate
Jazz chord notation, and a systematic scheme called Banter chords. The
Examples: @inputfileref{input/regression,chord-name-major7.ly},
@inputfileref{input/regression,chord-name-exceptions.ly},
@inputfileref{input/test,chord-names-jazz.ly},
-@inputfileref{input/test,chord-names-german.ly},
@inputfileref{input/test,chords-without-melody.ly}.
@code{< .. >} syntax.
+@node Improvisation
+@subsection Improvisation
+
+Improvisation is sometimes denoted with slashed note heads. Such note
+heads can be created by adding a @internalsref{Pitch_squash_engraver}
+to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
+following command
+
+@example
+ \set squashedPosition = #0
+ \override NoteHead #'style = #'slash
+@end example
+
+@noindent
+switches on the slashes.
+
+There are shortcuts @code{\improvisationOn} (and an accompanying
+@code{\improvisationOff}) for this command sequence. They are used in
+the following example
+
+@lilypond[verbatim,raggedright]
+\new Staff \with {
+ \consists Pitch_squash_engraver
+} \transpose c c' {
+ e8 e g a a16(bes)(a8) g \improvisationOn
+ e8
+ ~e2~e8 f4 fis8
+ ~fis2 \improvisationOff a16(bes) a8 g e
+}
+@end lilypond
+
@node Orchestral music
@menu
* Multiple staff contexts::
+* Aligning to cadenzas::
* Rehearsal marks::
* Bar numbers::
* Instrument names::
@cindex staff group
+@node Aligning to cadenzas
+@subsection Aligning to cadenzas
+
+
+In an orchestral context, cadenzas present a special problem:
+when constructing a score that includes a cadenza, all other
+instruments should skip just as many notes as the length of the
+cadenza, otherwise they will start too soon or too late.
+
+A solution to this problem are the functions @code{mmrest-of-length}
+and @code{skip-of-length}. These Scheme functions take a piece music
+as argument, and generate a @code{\skip} or multi rest, exactly as
+long as the piece. The use of @code{mmrest-of-length} is demonstrated
+in the following example.
+
+@lilypond[raggedright]
+cadenza = \relative c' {
+ c4 d8 << { e f g } \\ { d4. } >>
+ g4 f2 g4 g
+}
+
+\new GrandStaff <<
+ \new Staff { \cadenza c'4 }
+ \new Staff {
+ #(ly:export (mmrest-of-length cadenza))
+ c'4
+ }
+>>
+@end lilypond
+
+
+
@node Rehearsal marks
Program reference: @internalsref{QuoteMusic}.
+@node Formatting cue notes
+@section Formatting cue notes
+
+
+The previous section deals with inserting notes from another
+voice. When making a part, these notes need to be specially formatted.
+Here is an example of formatted cue notes
+
+@lilypond[verbatim]
+smaller = {
+ \set fontSize = #-1
+ \override Stem #'length = #5.5
+ \override Beam #'thickness = #0.384
+ \override Beam #'space-function =
+ #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
+}
+
+{
+ \set Staff.instrument = #"Horn in F"
+ \set Score.skipBars = ##t
+ R1*21
+ << {
+ \once \override Staff.MultiMeasureRest #'staff-position = #-6
+ R1
+ }
+ \new Voice {
+ s2
+ \clef tenor
+ \smaller
+ r8^"Bsn." c'8 f'8[ f'8]
+ \clef treble
+ }
+ >>
+ c'8^"Horn" cis'
+ eis'4 fis'4
+}
+@end lilypond
+
+
+There are a couple of points to take care of:
+
+@itemize @bullet
+@item
+The multi rest of the original part should be moved up or down during
+the cue.
+@item
+Cue notes have smaller font sizes.
+@item
+When cued notes have a clef change relative to the original part, the
+clef should be restored after the cue section. This minimizes
+confusion for the reader,
+@item
+When the original part starts, this should be marked with the name of
+the instrument, in this case ``Horn.'' Of course, the cue part is
+marked with the instrument playing the cue.
+@end itemize
+
+
+
@node Ancient notation
@section Ancient notation
following table
@lilypond[quote]
-\score {
- {
- \set Score.timing = ##f
- \set Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
- s
- s_\markup { "$\\backslash$time 2/2" }
- ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
- s
- s_\markup { "$\\backslash$time 6/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
- s
- s_\markup { "$\\backslash$time 6/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
- \break
- s_\markup { "$\\backslash$time 3/2" }
- ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
- s
- s_\markup { "$\\backslash$time 3/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
- s
- s_\markup { "$\\backslash$time 9/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
- s
- s_\markup { "$\\backslash$time 9/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
- \break
- s_\markup { "$\\backslash$time 4/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
- s
- s_\markup { "$\\backslash$time 2/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
- \break
- }
- \paper {
- indent = 0.0
- raggedright = ##t
- \context {
- \Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
- }
+\paper {
+ indent = 0.0
+ raggedright = ##t
+ \context {
+ \Staff
+ \remove Staff_symbol_engraver
+ \remove Clef_engraver
+ \remove Time_signature_engraver
}
+} {
+ \set Score.timing = ##f
+ \set Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
+ s
+ s_\markup { "$\\backslash$time 2/2" }
+ ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
+ s
+ s_\markup { "$\\backslash$time 6/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
+ s
+ s_\markup { "$\\backslash$time 6/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
+ \break
+ s_\markup { "$\\backslash$time 3/2" }
+ ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
+ s
+ s_\markup { "$\\backslash$time 3/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
+ s
+ s_\markup { "$\\backslash$time 9/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
+ s
+ s_\markup { "$\\backslash$time 9/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
+ \break
+ s_\markup { "$\\backslash$time 4/8" }
+ ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
+ s
+ s_\markup { "$\\backslash$time 2/4" }
+ ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
+ \break
}
@end lilypond
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
-@inputfileref{input/test,time.ly} gives an overview over all available
-ancient and modern styles.
+The following examples shows the differences in style,
+@lilypond[raggedright]
+{
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter default }
+
+ \override TimeSignature #'style = #'numbered
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter numbered }
+
+ \override TimeSignature #'style = #'mensural
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter mensural }
+
+ \override TimeSignature #'style = #'neomensural
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter neomensural }
+ \override TimeSignature #'style = #'single-digit
+ \time 2/2
+ c1^\markup { \hspace #-2.0 \typewriter single-digit }
+}
+@end lilypond
@seealso
-Program reference: @ref{Time signature} gives a general introduction into the use of time
-signatures.
+This manual: @ref{Time signature} gives a general introduction into
+the use of time signatures.
@refbugs
-Mensural signature glyphs are mapped to time fractions in a hard-wired
-way. This mapping is sensible, but still arbitrary: given a mensural
-time signature, the time fraction represents a modern meter that
-usually will be a good choice when transcribing a mensural piece of
-music. For a particular piece of mensural music, however, the mapping
-may be unsatisfactory. In particular, the mapping assumes a fixed
-transcription of durations (e.g. brevis = half note in 2/2, i.e. 4:1).
-Some glyphs (such as the alternate glyph for 6/8 meter) are not at all
-accessible through the @code{\time} command.
-
-Mensural time signatures are supported typographically, but not yet
-musically. The internal representation of durations is
-based on a purely binary system; a ternary division such as 1 brevis =
-3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
-prolatione maiori) is not correctly handled: event times in ternary
-modes will be badly computed, resulting e.g. in horizontally
-misaligned note heads, and bar checks are likely to erroneously fail.
-
-The syntax and semantics of the @code{\time} command for mensural
-music is subject to change.
+Ratios of note durations do not change with the time signature. For
+example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
+be made by hand, by setting
+
+@example
+ breveTP = #(ly:make-duration -1 0 3 2)
+@end example
+
+@noindent
+This sets breveTP to 3/2 times 2 = 3 times a whole note.
+
+The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
+addressable with @code{\time}. Use a @code{\markup} instead
@node Custodes
@subsection Custodes
@menu
+* Polymetric notation::
* Clusters::
* Fermatas::
+* Feathered beams::
@end menu
+@node Polymetric notation
+@subsection Polymetric notation
+
+Double time signatures are not supported explicitly, but they can be
+faked. In the next example, the markup for the time signature is
+created with a markup text. This markup text is inserted in the
+@internalsref{TimeSignature} grob.
+
+@lilypond[verbatim,raggedright]
+
+% create 2/4 + 5/8
+tsMarkup =\markup {
+ \number {
+ \column < "2" "4" >
+ \musicglyph #"scripts-stopped"
+ \bracket \column < "5" "8" >
+ }
+}
+
+{
+ \override Staff.TimeSignature #'print-function = #Text_item::print
+ \override Staff.TimeSignature #'text = #tsMarkup
+ \time 3/2
+ c'2 \bar ":" c'4 c'4.
+}
+@end lilypond
+
+Each staff can also have its own time signature. This is done by
+moving the @internalsref{Timing_engraver} to @internalsref{Staff}
+context.
+
+@verbatim
+\paper{
+ \context{
+ \Score
+ \remove "Timing_engraver"
+ }
+ \context{
+ \Staff
+ \consists "Timing_engraver"
+ }
+}
+@end verbatim
+
+
+Now, each staff has its own time signature.
+@verbatim
+<<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+
+ \new Staff {
+ \time 2/4
+ c4 c | c c | c c
+ }
+ \new Staff {
+ \time 3/8
+ c4. c8 c c c4. c8 c c
+ }
+>>
+@end verbatim
+
+@lilypond[raggedright]
+\paper{
+ \context{
+ \Score
+ \remove "Timing_engraver"
+ }
+ \context{
+ \Staff
+ \consists "Timing_engraver"
+ }
+}
+
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+
+ \new Staff {
+ \time 2/4
+ c4 c | c c | c c
+ }
+ \new Staff {
+ \time 3/8
+ c4. c8 c c c4. c8 c c
+ }
+>>
+@end lilypond
+
+
+A different form of polymetric notation is where note lengths have
+different values across staves.
+
+This notation can be created by setting a common time signature for
+each staff but replacing it manually using
+@code{timeSignatureFraction} to the desired fraction. Then the printed
+durations in each staff are scaled to the common time signature.
+The latter is done with @code{\compressmusic}, which is similar to
+@code{\times}, but does not create a tuplet bracket.
+
+
+In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
+used in parallel. In the second staff, shown durations are multiplied by
+2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
+multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
+
+@lilypond[raggedright,verbatim]
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c | c c c |
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(9 . 8)
+ \compressmusic #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(10 . 8)
+ \compressmusic #'(3 . 5)
+ { \repeat unfold 2 { c8[ c c] }
+ \repeat unfold 2 { c8[ c] }
+ | c4. c4. \times 2/3 { c8 c c } c4 }
+ }
+>>
+@end lilypond
+
+
+
+
+@refbugs
+
+When using different time signatures in parallel, the spacing is
+aligned vertically, but bar lines distort the regular spacing.
+
+
+
@node Clusters
@subsection Clusters
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to notes.
+@node Feathered beams
+@subsection Feathered beams
+
+Feathered beams are not supported natively, but they can be faked by
+forcing two beams to overlap. Here is an example,
+
+@lilypond[raggedright]
+\relative \new Staff <<
+ \new Voice
+ {
+ \stemUp
+ \once \override Voice.Beam #'positions = #'(0 . 0.5)
+ c8[ c c c c ]
+ }
+ \new Voice {
+ \stemUp
+ \once \override Voice.Beam #'positions = #'(0 . -0.5)
+ c[ c c c c]
+ }
+>>
+@end lilypond
+
+
@node Educational use
@section Educational use
@noindent
The function @code{add-balloon-text} takes the name of a grob, the
-label to print and where to put the label relative to the object. In
-the above example, the text ``heads or tails?'' ends 3 spaces below
-the `balloon.'
+label to print, and the position where to put the label relative to
+the object. In the above example, the text ``heads or tails?'' ends
+3 spaces below the `balloon.'
@cindex balloon
@cindex notation, explaining
@cindex easy notation
@cindex Hal Leonard
-The `easy play' note head includes a name inside the head. It is
+The `easy play' note head includes a note name inside the head. It is
used in music for beginners
@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
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